Yokkaichi, a industrial city in full boom. Working in a grand entreprise, Jiro Tezuka knows Harumi in a motorway cafe. He decides to put her working in the bar "Sawa" which boss, Sawako, is the daughter of the director of his entreprise. Meanwhile, he also knows Masae, widower to the director of the foundry Oka…

Since they started in the early 1970’s, ECM has been giving the world one excellent jazz piano disc after another–significant names include Keith Jarrett, Chick Corea, and Paul Bley, more recently Anat Fort, Bo Stenson, and now Julia Hulsmann. Leading a trio on her ECM debut, THE END OF SUMMER, Hulsman displays a graceful, muted, and melancholy air. In the manner of Stenson and Bley, Hulsmann expresses maximum emotion and mood using the fewest (but well-placed) notes. Unlike the aforementioned gentlemen however, Hulsmann favors almost folk-like, affable, and concise melodies. Her bassist and drummer seem subdued at times, but they’re constantly lending the tunes a sense of forward motion.

After fifteen films that received mostly local acclaim, the 1955 comedy Smiles of a Summer Night (Sommarnattens leende) at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men’s hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema’s great erotic comedies.

After fifteen films that received mostly local acclaim, the 1955 comedy Smiles of a Summer Night (Sommarnattens leende) at last ushered in an international audience for Ingmar Bergman. In turn-of-the-century Sweden, four men and four women attempt to navigate the laws of attraction. During a weekend in the country, the women collude to force the men’s hands in matters of the heart, exposing their pretensions and insecurities along the way. Chock-full of flirtatious propositions and sharp witticisms delivered by such Swedish screen legends as Gunnar Björnstrand and Harriet Andersson, Smiles of a Summer Night is one of cinema’s great erotic comedies.

Patti’s debut for CTI, END OF A RAINBOW was conceived after she played demos of songs she’d written (but originally never planned to record) for arranger Bill Eaton who in turn played them for his production partner percussionist Ralph MacDonald. After MacDonald let Creed Taylor hear some of the songs, Patti began recording what would become her much-acclaimed debut set for the label which featured eight original Austin compositions including the U.S. R&B charted single, “Say You Love Me” and “Sweet Sadie The Savior” (also recorded by Blood, Sweat & Tears). The 1976 LP (with some of New York’s top session players) became a U.S. Top 40 jazz charted album and is included in its entirety on this SoulMusic Records’ compilation drawn from Patti’s four years with CTI.